نوع مقاله : مقاله پژوهشی
نویسنده
استادیار گروه سینما، دانشکده هنر و معماری، دانشگاه کردستان، کردستان، ایران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
This study systematically examines the concept of the “Principle of Subtraction” across three levels—visual, auditory, and narrative—in four landmark films by Abbas Kiarostami. The central question is how absence manifests at these levels and what effects it has on the viewer's perceptual and ethical experience. Absence in Kiarostami's cinema is presented not as a lack but as a deliberate choice with multilayered aesthetic functions. The primary goal is to propose an analytical model that connects this phenomenon to key theoretical frameworks in film studies.
The research employs a qualitative, scene-based analysis of four films from Kiarostami's peak creative period: Where Is the Friend's House? (1987), Through the Olive Trees (1994), Taste of Cherry (1997), and The Wind Will Carry Us (1999). The theoretical framework integrates six influential approaches, including Eco's “Open Work,” Rancière’s “Distribution of the Sensible,” and Abbott’s “Suspension of Judgment,” which were operationalized into measurable indicators.
Findings reveal that absence, through narrative suspensions, reduced detail, and the use of silence, prompts the audience to actively reconstruct meaning. This process not only enhances cognitive engagement but also leads to a unique ethical experience in which definitive judgment is deferred. A comparative analysis with minimalist filmmakers such as Bresson, Tsai Ming-liang, and Tarr shows that Kiarostami's unique distinction lies in linking absence to ecological sensibility and the depiction of human-nature coexistence.
The study concludes that absence in Kiarostami's cinema functions not as a flaw but as a creative tool for generating meaning and elevating the viewer from a passive recipient to an active participant.
کلیدواژهها [English]
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